I’m going to re-post Tricia’s excellent stitch instructions, in the downloadable pdfs that she has made available for the good of this project and the spread of embroidery knowledge. Please let me know if they don’t work for you, I’m trying a new way to do this. Here’s the first – detached buttonhole needlelace directions.

For the past two Sundays I have worked on the jacket (right front) in the Crafts Center. In the Crafts Center, modern artisans demonstrate 17th-century trades while creating artifacts for use on our sites or for sale in the museum’s gift shop. I’ve been so deep in this project for getting on two years now that it is very refreshing to show and talk about it with people who have never heard of this adventure before. Not to mention what a treat it is to have an entire day just to embroider and talk about one of my favorite subjects.

It is interesting, though, and I’m sure you’ve heard it too; many people remark that I must have a great deal of patience, or at least much more patience than they. The real truth, I think, is that everyone has something they do that others would find tedious or irksome or downright crazy-making. I know there are people who own long-haired pets and comb and/or brush them daily. And enjoy it. Amazing, and inconceivable to me. Yet I’ll sit still for hours making tiny loops and knots in fine thread, taking seven hours to cover maybe 4 square inches. Go figure.

I’ll be embroidering the jacket in the Crafts Center on Sunday July 20, Sunday July 27, and Sunday August 3. If you’re in the area, stop by and say hello.

Last Friday the embroiderers at our April session got an unexpected treat – Mark was working in the Crafts Center making spangles. Lots of Mark’s work isn’t suitable to the Crafts Center, requiring a big fire like it does, but this work is great for that space.

Wendy and Tricia took photos and also video, I believe. Wendy sent me these photos.

Two tubes of the silver thread for the lace making arrived in the mail from Tricia this morning. Carolyn sent a note that she and Wendy will be down week after next to wind bobbins. Carolyn will finish off the wing piece that Bryce did, and start the next piece so Jill H can work when she comes in May.

Joann G’s embroidery sample arrived a couple of days ago and Kathy sent a big pile of embroidery kits out. Those of you who were waiting for kits, they’re on their way. I think that’s all the news for today.

…was a long one, and eventful and productive. I got home late, although that wasn’t the reason for no blog entry. The thunderstorm I whirled home in was; I thought it unwise to turn on the computer. I think it’s going to take me a few days to catch you up on what’s been going on.

First, let’s go back to Day One, specifically to the Dead Bird conversation. I was in it, so no pictures, but Robbin cleverly caught the whole thing. Here I am, feeling awful about having to break the news to Tricia that her design is upside down. She’s got the reference books out, attempting to convince us all that it’s fine and she doesn’t need to trash two or three hours of work. Wendy’s trying to be diplomatic.

Seeing is believing as they say, so we taped the paper together in order to demonstrate how a coif sits on your head (sort of). Wouldn’t she make a sweet colonist? Thanks so much for these pictures, Robbin.

Day Three (yesterday, Thursday) was busy. The Needle Arts Studio crew started filming in the 1627 English Village shortly after 9:00 AM, then to the Wampanoag Homesite to capture some images of Native women making traditional textiles. They got a lovely shot of milkweed plants, an important source of fiber for cordage and textiles, in the foreground, and a woman working in the background.

Then to Accomack, to interview Tricia about the project and get some pictures of the work, and of Kris’ hands executing detached buttonhole stitch. That was a bonus; we didn’t think we’d have time or the proper equipment to capture that. The filming wrapped up shortly after 2:00.

Below is another picture from Robbin, of Tricia explaining the plan for tackling this project.

Later, the participants were treated to a presentation on the history of Thanksgiving – the holiday and the food – by Plimoth Plantation’s Foodways Historian Kathleen Curtin. After asking everyone to name their special, traditional Thanksgiving dishes, she explained how and when each was added to the menu and how the food reflected the changing nature of the holiday. You can get the same entertaining presentation of the food and the history in Kathleen’s book, Giving Thanks.

Next Kathleen and I went to scout our next location. Remember the One Big Glitch, having to move shop from Accomack to make room for a previously booked event? We were able to reserve another space on the grounds, but when we went to see if there were sufficient tables and chairs (there were) we discovered that it was just too warm to be comfortable for embroidering.

After a hasty conference, we decided to move to the Wardrobe Department’s workshop. I had thoughtfully invited several of the museum’s interns (read: willing helpers) to join us for supper, and after plying them with Marcia’s yummy food they swiftly and efficiently helped us transfer embroidery frames, floor stands, lamps & magnifiers, and all the food service supplies to the Wardrobe office. Thank you, Laura, Kate, Kassie, Mirelle, and Jessy and Ryan, who arrived too late for supper but were bribed — I mean thanked — with dessert for their help.

We spilled out of the Wardrobe office, occupying nearly the whole building (thanks to our co-workers for their hospitality!). The lighting and layout of the Wardrobe office proved very suitable for about four or five embroiderers. This was a happy discovery, as a few local embroiderers are interested in volunteering a day here and there rather than coming for three or four days together. Now I know we can accommodate an embroiderer or two in the office on occasion.

After The Move we repaired to the Crafts Center for a presentation by Peter Follansbee, joiner and historian, on 17^th century furniture, the craft of the joiner, and the process of historical research. And a few comments on how lots of birds feed upside down and if its feet were on a branch maybe it wasn’t dead…. Peter’s conversation was thoroughly enjoyed and, if we didn’t need to walk back before night fell completely, we would have kept him longer.

Thus endeth Day Three. I did manage to take a few pictures today, which I will share with you tomorrow night, the computer and camera being willing. I’ll also mention our special guests, and maybe have some pictures of them, if Tricia has a chance to send them over.

We got a new comment from Crystal, who is both sharp-eyed and curious:

Since the majority of the embroidery is being done with one strand of the soie perlee, how will you be handling the parts that are embroidered with two or more colours mixed (such as on some of the butterfly wings and some parts of the leaves).
If I recall, I remember seeing a blue/white/gold and some green/yellow blends.

And some pink and white. Glad you asked. Tricia’s been conducting some research and development (how can I get this effect? Try this? No? Try something else?) and will post about her results soon.